Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . n wrecks of the city are tobe found, along the quays, on the ramparts, in the faubourgs—have been systematically chosen by popular artists as the subjectsof their pictures. Scenes taken from these quarters, when treatedwith art, have been found to be as full of interest as any in the period when Guillaumin produced his work, opinionwas not yet emancipated from the old conventions ; that side ofthings which was regarded as coarse, prosaic, vulgar, was syste-matically avo
Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . n wrecks of the city are tobe found, along the quays, on the ramparts, in the faubourgs—have been systematically chosen by popular artists as the subjectsof their pictures. Scenes taken from these quarters, when treatedwith art, have been found to be as full of interest as any in the period when Guillaumin produced his work, opinionwas not yet emancipated from the old conventions ; that side ofthings which was regarded as coarse, prosaic, vulgar, was syste-matically avoided. Guillaumin, with his views of quays and hisstreet scenes at Billancourt and Clamart, thus contributed to theexhibitions of 1874 and 1877 yet another element provocative ofdisgust, and was in part responsible for the contempt in whichthey were held. Absent from the Impressionist exhibition of 1879, he took partin all the others until the last in 1886. As in 1874 and 1877, mostof his subjects were taken from the quays and outskirts of range, however, was enlarged and embraced the open GUILLAUMIN 191 To the exhibition of 1886, he sent a series of landscapes painted atDamiette, near to Orsay. He now also began to study the render-ing of the human form; henceforth, in addition to landscape, hiswork included portraits and pictures with figures in the open air. Guillaumin shared in the general movement which led all theImpressionists to develop their system to its ultimate conse-quences, and to adopt an increasingly bright scheme of first pictures were rather sombre and in a monochrome ofgreens; they were followed by others full of vibrating tones andof a great range of colour. His touch and methods of executionowed much to Claude Monet, while he incorporated Cezannesscale of tones as an integral part in his own. But, like the rest ofthe Impressionists when, in the course of their common develop-ment, they availed themselves of each others inven
Size: 1439px × 1737px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
